FOUNDATIONS: PETER FRANK ADSHEAD, PART 1

"Modern electronic music is for the mind, the body and the soul."

Ben Rubin

Dec 05, 2025

Friends.

It’s Friday, and we’re relaying the foundations.

This week with a top selection and beautiful words from Stef.

Have it.

PETER FRANK ADSHEAD

If you have not followed Peter Adshead’s career closely, then you have missed out on some incredible music. Even if you have never heard of him, you have more than likely familiarised yourself with this person as Baby Ford and his work from several tracks, in particular ‘Oochy Koochy (F.U. Baby Yeh Yeh)’ and ‘Chikki Chikki Ahh Ahh’ that were in the single charts, released in 1987 and 1988 and were on his first album, ‘Ford Trax’ on Rhythm King (Mute Records) as the Konrad Cadet and Promo versions. Interestingly, the sub-label Outer Rhythm was formed in 1989 to focus on developments in rave culture, briefly associating with Sheffield’s Warp Records and the Yorkshire bleep and bass scene.

This Greater Manchester-based producer was fundamental to what happened in the late eighties and early nineties in the UK and is known as the original acid baby. No more so than with his seminal tracks of ‘Oochy Koochy’ which had ‘Flowers’ on the B side: the 7-inch and 12-inch with its charming pink flower silhouette and the black arm and hand designs.

His early releases that made the charts, specifically the two mentioned in the first paragraph, brought this new sound into the UK mainstream. Not only was this acid produced in a way that made it more generally accepted across a broader demographic, but its commercial success captured that defining moment in time, which was crucial; more specifically, it was a significant seed planted, allowing this sound to develop in the UK.

Specifically, this was a new sound from the USA, and, through his immense passion and emotion, his interpretations became perceptible, more importantly accepted.

‘Ford Trax’ is a crucial album, as is his other in a similar vein, ‘Ooo The World Of Baby Ford’, both pictured above. These records brought Peter to the forefront of electronic music, along with their commercial success. In particular, ‘Ford Trax’, which to this day holds incredible historical importance: ‘Crashing’, ‘Fordtrax’, ‘My Innersense’, and ‘Reprise’ are examples of him producing music of this broader appeal, a softer approach with the acid sound, making it a crucial record to progress music ideas within the UK.

On these two albums, you can hear the other Rhythm King roster of artists’ productions: the overall feel, styling, rubbing off and coming through; however, he was heavily influenced by Armando, Larry Heard, Marshall Jefferson, and Ron Trent, to name a few, and therefore this quality was never far from his thoughts and it would inevitably push through.

As he progressed, moving away from those commercial-type influences and focusing on where his heart really was, his music gained in maturity: rhythm-based serious techno, and it is this that makes him so important.

My choice from Ford Trax is ‘Crashing’

A beautiful track with the manipulated synth line throughout, also a two-key strike, of a high-pitched synth stringed instrument, dropped in every 16 beats, and the lovely vocal of Peter and the voices of Ava Cimiotti and Sofy Monster Girl, which adds immense depth and is sublime.

BFORD 9

‘BFORD 9’, his 1992 album, is interesting because it goes a step further in his development and is in line with rave culture: specifically, ‘RU486’, ‘Fetish’, and ‘In Your Blood’. It is a mix of rave, disco, pop sensibility, and there is a distinct vibe of the Manchester sound, rock-indie-acid fusion. In parts, it also brings the music of ‘The Doors’ and ‘Bob Dylan’ to the forefront. In essence, it is him experimenting; the ‘BFORD 9’ album touches on many styles, even a dash of phasing for good measure. Here he is sketching out the many sound concepts from the styles happening in that developing scene and further afield. However you understand this release is for that individual: for me, it shows just how open to all music styles he was, and how good he was at putting together this vast array of influences into compositions, always pushing his productions, the scene, and its culture forward.

Interestingly, it was this album that significantly influenced Thomas Franzmann to leave his industrial/punk synth band as a singer and focus on electronic productions. He went on to set up Perlon Records.

These albums are pivotal in the development of rave and acid in the UK; however, this is not my only focus.

As Peter moved away from Rhythm King / Sire / Warner Bros between 1994 and 1996, he created three impressive labels: ‘Ifach’, ‘Trelik’, and ‘PAL SL’, each with a distinct identity without being overly direct.

He also began working in these groups: Allstars, Baby Ford & The Ifach Collective, Baby Ford & Zip, Baird Remo, Birds, Brubaker, Casino Classix, El Mal, Midnight Caller, Minimal Man, Perbec, Solcyc, Soul Capsule, Sunpeople, and The Stripper. These group members are Mark Broom, Andy Turner, Dave Hill, Ed Handley, Tony Edwards, Jochen Bader, Kotai, and Ian Loveday.

I see a man with a will to pursue his desired sound, and this, to me, shows the impressive work ethic I often talk about. It is right to say his style arrived in 1994.

I will now bring to your attention two other albums: ‘Headphoneasy Rider’ - Black Market International, 1997, and ‘Basking In The Brakelights’ - Force Inc Music Works, 2003, both sadly overlooked.

HEADPHONEASY RIDER

First, ‘Headphoneasy Rider’, a title quite misleading, as this is not armchair music. Rather Techno, an album with a slightly darker feeling, yet it is a masterpiece and one of my favourites. This release followed ‘BFORD 9’, ‘Minimal Man E.P.’ from 1993 on Gurellia, and ‘Treatment Feel’ from 1994 on Vinyl Solution, all in the same style.

It becomes clear from 1994, when he started collaborating with Mark Broom, Andy Turner, Dave Hill, Ed Handley, and Tony Edwards, that he found his sound, and I perceive that Mark Broom was highly influential. This album shows us that rhythm-based, slightly stripped-down, unique techno he developed. I select two tracks to embed. However, you can listen to all tracks here.

‘In Decision’

Metre is four by four: Brazilian/Jazz rhythm, syncopated. From the start, a deep synth sound serves as melody in the lower register, engaging with the percussion line, mimicking it. A closed high hat creates the second percussion line, also syncopated. Third and fourth high hat lines are added, a single clap on the 1st beat (off) and 8th beat (off) joins in, but this pattern shifts. The first double clap comes at 2.26 on the offbeat of the 3rd beat, continues to the 4th beat, and recurs every eight measures until 3.52, when the track loses its main rhythm, and the double clap restarts at 4.50 when the rhythm picks up: around 32 measures. At 3.04, a soothing melody line comes in, harmonising with the synth line from the beginning. Towards the end, a synth wind instrument melody line at 6.09 subtly weaves its way in. Absolutely beautiful.

‘Toman’

From the beginning, a whirring sound in the background that resembles the unknown/uncertainty, which does not follow the rhythm at first: it has its own pulse. The piece has this very dystopian feel about it; non-stop machinery comes to mind. A straight four by four beat with its open and closed high hat from the beginning, which leads into a fast repetitive closed high hat. A manipulated sine wave from a synth sound low in timbre appears, and a loud percussive clap sound syncopated wooden in feel; the division is 3 and 2, and another whirring sound at 3.07, stronger is added on top, adding to its dark feel. Around 2/3 thirds of the way through, it tails off, then it starts on the off-beat briefly and resumes as before. Incredible.

BASKING IN THE BREAKLIGHTS

‘Basking In The Brakelights’ was released as a promo in 2003 on the formidable ‘Force Inc. Music Works’. In 2004, it was released on ‘Perlon’ because FIMW unfortunately went bankrupt.

Another Album that shows how easily he can adapt to different forms within the techno style. Side A is that strict micro-minimal ‘Perlon’ sound at play; however, there are some cuts with a little more depth, like ‘3 A.M. Gargoyle Requiem’, ‘Glasshammer Time’, and ‘Parallel Life’.

‘Parallel Life’

A delicate techno track, with a straight four by four beat, and a subtle high hat. The piano sound: consists of a melody feeding off the chords. From the outset, there is a sound in the distance that almost resembles a sound coming from nature, even life-based. Also a vibraslap that comes in on the fifth beat and then every 8 beats. This is a track of few elements, but it is lovely.

He became, without doubt, a master Techno producer, a prolific craftsman in rhythm-based tracks using beats and percussion as the foundation. Yet, his productions have varying amounts of layers depending on how complex or the style, taken from instrument sounds from either low or high pitch chords, even singular/dual note strikes: sometimes these sounds are manipulated/distorted; these additional continual music lines accompany his beats and percussion lines, adding depth, yet used as percussion to enhance the rhythm. There are touches of chords and vocal elements put into some of his compositions to add further richness. There are melody lines, mainly in the low-pitch keys, never overdone and usually quite subtle. His tracks focus heavily on rhythm, with unusual yet intriguing sound elements; even his beatless tracks are rhythmic.

There is a lovely element to his pieces, something I did not notice until writing this piece. On relistening to his discography, I was pleasantly surprised by things I missed previously: specifically, subtle low timbre elements. These rhythm-based tracks are all designed to suit the specific label they are for. Impressively, they never lose that underlying intoxicating shuffle of Peter’s: ‘Ifach’, with its distinct analogue warmth, layered full of rhythm and percussion, lovely melodies yet a sound that not only precipitates deep thought but it is killer floor material if used correctly: one where my heart is, where as ‘Trelik’ has a more funky edge to it and undoubtedly aimed at the floor, increased energy, nevertheless there are some phenomenal pieces on this label. However, his sound for ‘Perlon’ and ‘PAL SL’ and a few individual releases on other labels in comparison is more minimal in design, and even though this is so, I find these releases captivate me immensely; there is this beauty to them, even though there is little to no emotional melodies in place. I find it hard to explain in fine detail, so I will not try. The simple explanation is that it makes deep emotional sense to me; his sound is the real deal, hits exactly where it should, and there are very few who create this style who can draw you in and hold you there as well as he does.

It is what is not there and not needed that is the beauty.

Below, I have selected some of my picks of work under Baby Ford in his ever-so-unique style, leaving out a few select releases until part two. He states ‘Modern electronic music is for the mind, the body and the soul. And if those three things click, you can make people inspired and feel good. That’s all you can hope for.’ I wholeheartedly agree and certainly his music does this and I therefore hope you enjoy these selections as much as I do. Please listen carefully and check out these selected releases in full.

Slow Hand - Slow Hand